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...still pivoting off the "easiest PDL" to play thread, and going outside PDL to look for great flamenco music that doesn't force one to sacrifice the 'hard parts' - the question can be even more pointed.
Fast picado is the limiting factor for most pieces.
So I thought the question should be "which flamenco pieces sound good and do not have blazing picado"....or if there are some fast picado parts, they are very short and don't require that stamina that the longer runs need.
In my early days I purchased flamenco CD's from Spain from Flamenco Connection, and would call the owner Guierrmo to ask for recommendations....when asking for CD's that had flamenco music that was more 'approachable' than PDL, he recommended Quique Paredes. I just listened to one of his pieces, and it does seem to be very flamenco with less blazing picado runs...yet very tasteful.
Paco Cepero also has some pieces with shorter picado runs - but, they are very fast.
Posts: 503
Joined: Jun. 14 2014
From: Encinitas, CA USA
RE: Which flamenco pieces sound grea... (in reply to joevidetto)
Paco Pena tends to not use a lot of picado. But he does do a lot of ligado which he is extremely good at.
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Ah well, there was a fantastic passion there, in my case anyway. I discovered flamenco very early on. It grips you in a way that you can't get away - Paco Pena
RE: Which flamenco pieces sound grea... (in reply to Leñador)
Got to see Dani de Morron with Patricia Guerrero, Sergio El Colorao and Agustin Diassera a few weeks ago. It was totally awesome - and not a single fast picado scale all gig!!
Posts: 15722
Joined: Dec. 14 2004
From: Washington DC
RE: Which flamenco pieces sound grea... (in reply to JasonM)
quote:
ORIGINAL: JasonM
Is picado dead? Seems like a lot of the current generation and younger (not you Antonio) don’t focus as much on it. Maybe I’m wrong?
Probably they don’t use it in their pieces while they practice at home. I didn’t start really feeling comfortable with it until I was in my 40’s, and it was thanks to many hours of Rumba improvisation, where now I do not worry about things like Guajiras or my own passages getting flubbed on stage. That vid of Paco doing fandango recently and repeats the flub 3 times is so frustrating because I know exactly how that feels.
RE: Which flamenco pieces sound grea... (in reply to Ricardo)
Ricardo, yeah that is a good point about using it during performance vs less pressured situations. Also maybe it isn’t fair to say the last generation used it more since I don’t really know many guitarist outside the heavy hitters. Nowadays things are different with YouTube and such. It does strike me a bit though that some of these guys (40s and younger) be so polished in other techniques though, like everything but picado!
Posts: 2006
Joined: Jul. 12 2004
From: San Francisco
RE: Which flamenco pieces sound grea... (in reply to joevidetto)
2:45
Not dead yet.
I've been improving mine a bit, but that's not saying much. I've been practicing scales over jazz standards. I picked up an app called Mapping tonal harmony pro, which not only plays any chord progression but analyzes it to dertermine the function of every chord in the progression. It also suggests substitutions. I think it was developed by some Berkeley college of music people. It's pretty amazing. Way beyond Ireal if anyone is familiar with that app.
RE: Which flamenco pieces sound grea... (in reply to JasonM)
quote:
Is picado dead? Seems like a lot of the current generation and younger (not you Antonio) don’t focus as much on it. Maybe I’m wrong?
Maybe the Caño Roto players from 10-20 years ago were more focused on picado. But I don't think it is dead. If it is any indication these recent Bordon Minero winners still use it.
RE: Which flamenco pieces sound grea... (in reply to JasonM)
quote:
Is picado dead? Seems like a lot of the current generation and younger (not you Antonio) don’t focus as much on it. Maybe I’m wrong?
Maybe it depends on which palo. G.Nunez mentioned in his encuentro video golpe and tremolo are less used than before. But I'm not sure about tremolo. Is golpe rarely used nowadays except on beat 12? What about pulgar index technique with golpe?
RE: Which flamenco pieces sound grea... (in reply to Mark2)
quote:
picked up an app called Mapping tonal harmony pro, which not only plays any chord progression but analyzes it to dertermine the function of every chord in the progression. It also suggests substitutions.
RE: Which flamenco pieces sound grea... (in reply to lohan)
I am sorry I cannot understand the relation this has to the thread but I suppose it depends on the individual as most things and what person he/she is.
For example some years ago we (me with a trio we have here in Greece) tried to get permission from some composers so we could include their compositions as covers in our CD and make some videos for the group afterwards. In one occasion, an oud player was very impolite at least, and felt we were offending him playing his music. Another composer said he felt very happy we were covering his piece and asked to hear it when it was ready to give us feedback, which was very positive when he did. Gerardo Núñez (we covered his Sahara tanguillo) was very polite and cool with our inquiry and gave his permission to use his music in any way we wanted and just include his name of course as the composer.
Gerardo is so naturally cool that many years ago that I asked him why I could not buy Calima score from his site, he actually searched for a transcription online and sent me the name of the transcriber along with a photo of his screen showing me where he found it (I already had that but did not tell him that and said thank you of course).
RE: Which flamenco pieces sound grea... (in reply to AndresK)
quote:
ORIGINAL: AndresK
I am sorry I cannot understand the relation this has to the thread but I suppose it depends on the individual as most things and what person he/she is.
For example some years ago we (me with a trio we have here in Greece) tried to get permission from some composers so we could include their compositions as covers in our CD and make some videos for the group afterwards. In one occasion, an oud player was very impolite at least, and felt we were offending him playing his music. Another composer said he felt very happy we were covering his piece and asked to hear it when it was ready to give us feedback, which was very positive when he did. Gerardo Núñez (we covered his Sahara tanguillo) was very polite and cool with our inquiry and gave his permission to use his music in any way we wanted and just include his name of course as the composer.
Gerardo is so naturally cool that many years ago that I asked him why I could not buy Calima score from his site, he actually searched for a transcription online and sent me the name of the transcriber along with a photo of his screen showing me where he found it (I already had that but did not tell him that and said thank you of course).
So I believe it depends.
Thank You so much for your reply.. I didnot like to create a New Thread for my question. Therefor I found here. Your reply is complete. Thanks
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